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98                                      VERDICT ON INDIA
star's IJLVSC. Make-up men iii India have an exhausting job, trying
to keep the stars' faces dry at ninety in the shade.
Eead silence. The old, old feeling of agonizing tension. Busi-
ness. Action.
The star appeared, the dialogue began, everything appeared to
be golrg well. And then, without any warning the actors dried up.
There was an awful pause.
The producer hurried forward.
'Dim lights!'
The lights went out.
The producer began to rehearse the actors once again.
Kow there would be no point in narrating this incident, which
is common in" all film studios, were it not for the fact that it
happened again a few minutes later—and again and again, in all
eight times. The lights went on, the lights went out, the make-up
man dadied backwards and forwards, but aways it ended in the
middle \vith the producer shouting 'cut.' And the curious thing
was that he shouted it with the utmost good humour and the stars,
instead of looking peeved or embarrassed, merely smiled.
* Does this always happen ? *
* Pretty often.    It isn't because they've got bad memories but
because they try to do too much.   For instance, this girl's only
halfnay through starring in another picture for another company.
Shell be acting in that to-morrow.    No wonder she gets her lines
to 'But why do the producers allow it ?*
'They can't help it. Indian film stars are the most independent
people in the world.'
Other people's money is always interesting. Here are some
financial facts about India's Hollywood. For one film a star may
get as high a fee as 75,000 rupees, which is about §25,000. If she
does three of these a year, which is quite possible, she is actually
better off than if she were in Hollywood, because Indian income
tax (even when the collector manages to extract it, which is
seldom) is a fkabite compared to the .British or the American.
TLis f01 tune she cherishes with remarkable diligence. No big
cars, ixo grai;d houses, and not even a hint of a gigolo. Bombay's